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defunct connecticut strip mall, from backsideofamerica.com
no, not *that* ziggy.
(Remember, my big book shindig is one week from today (Sept. 24). See the top of this page for all pertinent details.)
Here’s something I haven’t seen in a while. A new print zine. Eight photocopied pages, issued at an attempted regular frequency.
Even the content within it parties like it’s 1999.
It’s called Tides of Flame: a Seattle anarchist paper. Four issues have been produced so far.
Its slogan is “joy — freedom — rebellion.”
The joy promoted here is principally the joy of busting stuff up and calling it a political act. Yep, we’re back with the flashiest (and, to me, the least important) aspect of the ol’ WTO protest, the dudes who confused destructive hedonism with revolution.
Particularly in the first issue, which starts out with a photo of a shattered and tagged window at the Broadway American Apparel store. This occurred as part of a “direct action” episode earlier this summer during gay pride week. The zine describes it as “an unpermitted dance party” staged by “uncontrollable elements within the queer and anarchist circles.”
Why did they hate American Apparel, which puts gay rights slogans in its ads? Because the company’s been “endorsing the legalization and normalization of queers…. Clearly, the attackers had no intention of being either legal or normal that night.”
The first issue also contains a well-composed ode to the contradictions of urban “alt” culture. (Even if the essay starts by referring to “the useless phallus of the Space Needle.” Anyone who looked at its curves and angles can see it’s a feminine symbol!)
Other issues defend the prolific grafitti artist Zeb and promote “fare dodging” (riding buses but refusing to pay).
But mostly they’re against things. Cops. Prisons. Bureaucrats. Banks and the economic elite (an admittedly easy target). Urban gentrification. “Cutesy street art.” Wide swaths of modern society in general.
As with most U.S. “radical” movements built on the wild-oat-sowing of young white people, the Tides of Flame zine and its makers give emphatic simple answers to questions about the outside world, but raise unaddressed questions about their own program.
Can they reach out to make coalitions beyond their own subcultural “tribe”?
Have they got any ideas for building a better world, beyond just smashing this one?
At least there’s a sign the zine’s makers are asking some of these questions among themselves.
That sign is the zine’s regular “Forgotten History” section, recounting past radical actions in the city and region, including the Seattle General Strike of 1919.
(There’s more of this recovered history at the site Radical Seattle Remembers.)
Steve Jobs had essentially retired from Apple Inc.’s day to day management back in January. On Wednesday he simply made this move official.
Thus ends the second (third, if you count the NExT/early Pixar years) era of Jobs’s involvement in, and leadership of, the digital gizmo industry.
I will leave it to others more laser-focused on that industry to give the big picture of Jobs’s work and legacy. But here are a few notes on it.
Jobs and Steve Wozniac did not, by themselves, “invent the personal computer.” Many individuals and companies had seen what the early mainframes could potentially do in the hands of smaller-than-corporate users. The early “hacker culture” was a tribe of programmers who worked in corporate, institutional, and particularly collegiate computing centers, who snuck in personal projects whenever and wherever they could get processor time.
As the first microprocessor chips came on the market, several outfits came up with primitive programmable computer-like devices built around them, initially offering them in kit form. One of those kit computers was Jobs and Wozniak’s Apple (posthumously renamed the Apple I).
That begat the pre-assembled (but still user-expandable) Apple II. It came out around the same time as Commodore and Radio Shack’s similar offerings. But unlike those two companies, the two Steves had nerd street cred. This carefully crafted brand image, that Apple was the microcomputer made by and for “real” computer enthusiasts, helped the company outlast the Eagles, Osbornes, Kaypros, Colecos, and Tandons.
Then the IBM PC came along—and with it MS-DOS, and the PC clones, and eventually Windows.
In response, Jobs and co. made the Apple III (a failure).
Then the Lisa (a failure, but with that vital Xerox-borrowed graphic interface).
Then came the original Macintosh.
A heavily stripped-down scion of the Lisa, it was originally capable of not much besides enthralling and inspiring tens of thousands into seeing “computers” for potential beyond the mere manipulation of text and data.
The Mac slowly began to fulfill this potential as it gained more memory, more software, and more peripherals, particularly the Apple laser printer that made “desktop publishing” a thing.
But Jobs would be gone by then. Driven out by his own associates, he left behind a company neither he nor anyone else could effectively run.
Jobs created the NExT computer (a failure, but the machine on which Tim Berners-Lee created the World Wide Web), and bought Pixar (where my ol’ high school pal Brad Bird would direct The Incredibles and Ratatouille).
The Mac lived, but didn’t thrive, in the niche markets of schools and graphic design. But even there, the Windows platform, with its multiple hardware vendors under Microsoft’s OS control, threatened to finally smother its only remaining rival.
Back came Jobs, in a sequence of maneuvers even more complicated than those that had gotten him out of the company.
Out went the Newton, the Pippin, the rainbow logo hues. In came the candy colored iMac and OS X.
And in came a new business model, that of “digital media.”
There had been a number of computer audio and video formats; many of them Windows-only. For the Mac to survive, Apple had to have its own audio and video formats, and they had to become “industry standards” by being ported to Windows.
Thus, iTunes.
And, from there, the iTunes Store, the iPod, the iPhone, the iPad, and an Apple that was less a computer company and more a media-player-making and media-selling company. The world’s “biggest” company, by stock value, for a few moments last week.
Jobs turned a strategy to survive into a means to thrive.
Along the way he helped to “disrupt” (to use a favorite Wired magazine cliche) the music, video, TV, Â cell-phone, casual gaming, book publishing, and other industries.
We have all been affected by Jobs, his products, and the design and business creations devised under his helm.
He’s backing away for health reasons. But we’ve all been the subjects of his own experiments, his treatments for “conditions” the world didn’t know it had.
•
The post-Jobs Apple is led by operations chief Tim Cook, whom Gawker is already calling “the most powerful gay man in America.” That’s based on speculation and rumor. Cook hasn’t actually outed himself, keeping his private life private.
from pulpcovers.com
One of the Seattle attorneys suing Apple and five big book publishers for e-book “price fixing” explains why he did it (without saying whether or not Amazon’s involved in his move):
The new system was clearly not helpful to consumers, as it meant that they could no longer shop for a bargain amongst retailers. Instead, prices at each retailer would be identical. Alongside the elimination of competition between retailers over price, the agency model allowed, we believe, a 30 to 50 percent increase in the price of the ebooks. Each publisher’s decision to sign an agreement with Apple was not illegal by itself. What would be illegal, however, would be the coordination of five of the largest publishers joining forces to thwart price competition. Given the nearly simultaneous timing of the actions of these five publishers, and the fact that their actions coincided with the launch of the iPad, we believe there was coordination.
The new system was clearly not helpful to consumers, as it meant that they could no longer shop for a bargain amongst retailers. Instead, prices at each retailer would be identical. Alongside the elimination of competition between retailers over price, the agency model allowed, we believe, a 30 to 50 percent increase in the price of the ebooks.
Each publisher’s decision to sign an agreement with Apple was not illegal by itself. What would be illegal, however, would be the coordination of five of the largest publishers joining forces to thwart price competition. Given the nearly simultaneous timing of the actions of these five publishers, and the fact that their actions coincided with the launch of the iPad, we believe there was coordination.
pride parade viewers at the big popsicle
(A relatively long edition this time, bear with.)
bachmann family values?
Barack Obama ate John Boehner’s lunch, and then he turned Boehner out to go preach to his conservative colleagues that this eating of the lunch by Obama is actually politically good for them.
sorry, maude, you didn't make the list
menu screen from 'mickey, donald, goofy: the three musketeers'
oh, NOW they get customers.
About three weeks ago, I wrote about the long term decline of cable access TV, once one of Seattle’s most fertile loci of creativity.
Today, of course, we have online video streaming.
This is so much more convenient for niche-audience programming in several ways. Viewers don’t have to tune in at any specific time. They can easily catch up with past episodes. They can watch wherever they have a computer (or tablet or smart phone) and a broadband or WiFi connection.
And with contemporary digital video gear so much cheaper to buy (or rent) these days, low-budget and no-budget producers can accomplish quite a degree of slickness.
Take for example The Spit Show with Indus & Raquel (produced by Indus Alelia, written and directed by Dan Desrosiers, hosted by Alelia and Raquel Werner).
Like many cable access comedy shows of the 1990s, The Spit Show consists of comedy and music bits, with continuing characters and a loose storyline.
But unlike those older shows, it has fancy production values and is edited with brisk comic pacing.
And without a weekly time slot to fill, it can put out episodes of any length (more or less 10 minutes) at a relatively leisurely frequency (four episodes since February).
Alelia and Werner aren’t asking you to be home at any particular time. They’re not asking you to invest 29 minutes into deciding whether you like their work.
But if you do like their work, they’d like you to keep coming back.